TRANSCRIPT

A PINEWOOD DIALOGUE WITH TODD HAYNES AND BRUCE GREENWOOD

Todd Haynes reinvented the biopic with his movie I'm Not There, a kaleidoscopic portrait of Bob Dylan—and the 1960s—with six different actors, including Cate Blanchett and Richard Gere, playing variations of Dylan. This discussion with Haynes and actor Bruce Greenwood, who plays the journalist "Mr. Jones," demonstrates that Haynes was not just interested in exploring the details of Dylan's life, but of the fundamental concept of identity as a form of performance, a theme central to all of his films.

A Pinewood Dialogue following a screening of Dylan at a time in my life where I think I needed to I’m Not There, moderated by Chief Curator be reminded about something that I associated David Schwartz (November 10, 2007): with that earlier part of my life; a kind of fearlessness and a kind of devil-may-care quality in DAVID SCHWARTZ: Please welcome Todd Haynes. his voice, in his music, in his whole attitude, that I (Applause) Well, congratulations. It’s just an think I needed at the end of my thirties as a amazing achievement. (Applause) reminder that change is good, and change is necessary in your life, and it can really help you TODD HAYNES: Thank you. Thank you. That’s so move forward or make changes when you need nice. Thank you. them. Those are harder things to remember as you get older. It’s a lot easier when you’re young and it SCHWARTZ: One thing it really does is capture what makes a lot of sense. is special about Dylan’s music, which—I think so many of us probably have had the experience of SCHWARTZ: You made a big change—all of us were turning to his music at important times in our lives, sorry to see you move out of Brooklyn (Haynes and when you’re searching for something. Tell us laughs) and out of Williamsburg, to Portland. We what Dylan’s music meant to you, because I’m said, “What is going on here?” But was that about assuming there was a long connection to it early the time when you started? on. HAYNES: It was exactly at that time. Yes, and the HAYNES: Yes, absolutely. Well, I was a fan first in resurged interest in Dylan was some kind of high school. This was the mid-late seventies in LA. symptom of something that was about to happen And you know, I loved the records that most people that I really didn’t even see coming. But I was just loved—Blonde on Blonde, and Bringing It All Back going to go to Portland, where my sister lived, to go Home, and Blood on the Tracks. And I remember, write the script to my last film, Far From Heaven, you know, the releases of… I think I remember and get away from the city and be somewhere Desire; that might have been the very first one that I pretty. Dylan was this obsession during every day. I was sort of present for; Definitely Street Legal and remember making these cassette tapes (probably definitely Slow Train Coming. And that was the first the last time that I made a series of cassette tapes) time I actually saw Dylan in concert, was that tour, for the drive across country. When I landed in kicking off his sort of gospel period. Portland, I started writing Far From Heaven by night… Bruce Greenwood, everybody. (Applause) And then I kind of stopped listening to Dylan for a while. I mean, I just listened to other kinds of music SCHWARTZ: [Characters] Mr. Jones and and got into different kinds of things in college and Commissioner Garrett: Bruce Greenwood. thereafter. Then I sort of found myself (as you kind of suggested or intimated) suddenly hungering for BRUCE GREENWOOD: As you were.

SCHWARTZ: A surprise guest, but thank you for HAYNES: So we did that. We went to L.A. and we coming. (Laughter) You could ask all the questions met with Jesse, who’s this incredibly lovely guy and as Mr. Jones, if you want. seemed so well-adjusted talking about his dad. And I think it’s one thing about Dylan—whatever HAYNES: Exactly... or Pat Garrett, depending on his you say about his romantic record or marriage mood. history or whatever—you know, he’s been a really protective father. He’s really tried to keep those kids SCHWARTZ: Right. (Laughs) out of the glare of it all.

HAYNES: But yes, it was in this period where I was Jeff Rosen was on the line in his office—Dylan’s going out there to basically do something else that long-time manager—on that meeting. I described the Dylan obsession kind of emerged, almost on the concept, and they were both interested in it. But the side, you know. Not—Unexpectedly. they said, “That means absolutely nothing, that we think so.” Jeff said, “Why don’t you write it down on SCHWARTZ: Now, you had made two films where a one sheet piece of paper?” Jeff told me all these you were dealing with the whole question of music things; to not say “Voice of a generation,” and not rights and real musicians—Karen Carpenter being say “Genius” and don’t say… I remember feeling the famous example, and then David Bowie and like they were just like, “Don’t… Oh, don’t do this… Velvet Goldmine—where you didn’t have the official and don’t do this… and don’t—” So I managed to rights. So here’s a case where you actually went to write something out, and sent it to Dylan with my— Dylan? I mean, what was sort of the process; you through Jeff—with some DVDs. came up with the idea, and then decided, “I’d better check with Mr. Dylan”? SCHWARTZ: You had—even before Superstar, you made a film, Assassins, based on or inspired by HAYNES: Yes. There was absolutely no way to even Arthur Rimbaud’s poetry. begin to conceive of doing this without the rights to the music. There was no way to do the film with HAYNES: Mm-hm. pseudo-Dylan songs, or fake Dylan songs. But because of exactly what you said, I had absolutely SCHWARTZ: So is it true that you pulled the Rimbaud no—no—valid reason to expect we would get card in writing to Dylan? them! I mean just nothing at all. And it was alright; I was in this weird sort of free play of loving that HAYNES: Pulled the Rimbaud card? music and getting so into it, and reading the biographies and immersing myself in [them]. SCHWARTZ: Well, you mentioned you used Rimbaud— I had this idea that I thought was really interesting. But I really had no expectations. I talked to Christine HAYNES: Oh, on the top of the thing. about it on the phone—Christine Vachon, my producer and friend—and she said, “Look, don’t SCHWARTZ: On this one page, this one page. write anything yet. You never know, you just have absolutely no idea. Why don’t we just take it a step HAYNES: Yeah. No, it started with the subtext “I is at a time?” And she brought up Jesse Dylan—who another,” [by] Arthur Rimbaud, and a quote from is Dylan’s oldest son and who is a filmmaker, Anthony Scaduto’s first biography [of Dylan]: “He director—and he lived in LA. She said, “Look, when challenged every step of the way by refusing we’re both in L.A., why don’t we try to meet up with identity,” or something about identity and the sort of Jesse Dylan and just see. We’ll just sort of suss it whirligig around that. out.” I had a feeling Jesse would like meeting Christine, indie producer, right? You know? Makes SCHWARTZ: So Dylan sort of accepted the idea that sense. there would be a film that was supposedly about him, but that would be in this free style, that was not SCHWARTZ: Oh, right; very good, very smart. a pure biopic. It fits, obviously, with what his (Laughs) music’s all about.

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HAYNES: Clearly. Yes; exactly. I mean, it’s this that I really felt needed to be there—wasn’t going to innately and fundamentally open kind of approach come through on the page. to a traditional biography film. Clearly, because it described, you know, the Woody character as an SCHWARTZ: So could you talk about the casting eleven-year-old black kid who calls himself Woody process? Because of course, after the incredible Guthrie, described—But it actually said on the one success of Far From Heaven, lots of actors must description of Jude, the character Cate Blanchett have wanted, at that time, to work with you and would end up playing, that this would be portrayed wanted to be involved with this project. by a woman, and that his character would resemble the actual Dylan more than any other in the film. HAYNES: Yes, I guess that’s why. I don’t know; I was (Laughter) Which I had forgotten I’d even thought really thrilled. Because I did, I really went to who I about at that time that specifically. So he knew that thought were the very best possible people for there was going to be a sense of irreverence and each of these roles, and everybody wanted to take humor in the approach, you know? And I think a part in it, which was great. these are things that he doesn’t really get a lot of in the way people treat him and regard him. You know, even in casting… like, I wanted a movie star for the role of Richard Gere’s character, Billy. I SCHWARTZ: Was the script written in a kind of free wanted somebody who carried a little miniature style, the spirit that you were writing it in, where you history of American film in the lines on his face, you didn’t worry so much at the time how you would know? And yet, Richard Gere was totally into this. actually get this produced? Because I remember He was so interested in all the ideas that had following the project as it was going along, and I originated; had gone into creating that story. He know it took a while for the financing, the actual even gave me a book at his house one day. He’s a production to come together. great photographer, Richard, and he gave me a book of this photographer Meatyard, which I HAYNES: Yes, it took a long time. But that wasn’t hadn’t—I didn’t know his work. And it was exactly, it because the script was written in an open style. It was so precisely what the feeling of the Billy story was actually written so close to what the film would should be. We actually ended up copying some of be. Right? I mean it really—you read it. the masks in those Meatyard photographs that you see the kids wearing in the Riddle story. GREENWOOD: Yes. SCHWARTZ: How did you get cast? Were you HAYNES: Or you tried to read it. specifically looking at—this is a very key role, actually. It’s one of the most important non-Bob GREENWOOD: It was remarkable. Dylan roles, Jones, because the interrogation really gets at a lot of the key issues in the film. HAYNES: But it was really hard to—it was probably really hard to read it, I would think. I mean… GREENWOOD: Well, yes; I don’t know how I was (Laughter) cast. (Schwartz laughs) Todd called me, and I said yes before he’d finished half a sentence. Right? GREENWOOD: No, it wasn’t that hard. But it required You just called me in L.A.—I don’t know how you a second read, for sure, because a lot of the got my number. I mean, I didn’t even know—I descriptive narrative—as much as there was in the mean, I’ve changed it since then. (Laughter) script, you couldn’t begin to get a bead on how many layers of visual information there were going HAYNES: See, we had so many, you know, name to be when Todd put it together. stars in the film, and I sort of thought, “Okay, I’m not going to be able to get—you know, I’ll just find HAYNES: Yes; and I tend to get very detailed when a local person in Montreal for Mr. Jones,”—which is I’m writing, because it’s sort of like my own an incredibly important part, but the schedule had blueprint for what I’m envisioning. But I knew that already been put around these actors and their the sort of rhythm and the musical elements of the schedules. Then I was talking to [casting agent] film—and even the lightness, in a way, of the film, Laura [Rosenthal] one day, and we were talking

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about Bruce. I was like, “God, Bruce would be the SCHWARTZ: Hair seems to be really important to you most—” but I was like, “He would never do this.” I in finding characterizations. I remember you mean, because— (Schwartz laughs) Well, no, I just showed up at the Museum once in a seventies thought—It was a secondary role, it was a horrible, glam rock hairdo a few years before Velvet nasty… Goldmine, it was like you were doing research— getting into the part. I also understand that Cate GREENWOOD: What?! (Laughter) Blanchett—I mean, the hair was important to her.

HAYNES: Shit! I didn’t— (Laughter) In the primary HAYNES: Yes, hair is really important. sense of the word. (Laughter) In the primary sense of the word. No; but it was a nasty schedule, GREENWOOD: Hair is power. (Laughter) because you had to come and go! HAYNES: Hair; but really, the beard was—seriously, GREENWOOD: I was shuttling back and forth from the beard was… LA. GREENWOOD: Oh, the beard was so great. Even that HAYNES: And I just thought, “How could he? He hair was, I mean…when you’re talking about hair wouldn’t be able to squeeze in into his schedule, (Haynes laughs) you know, you put that on, there’s and why would he want to? And why, you know?“ four pounds of it, and then you put—literally. I But I wanted somebody really strong opposite Cate mean, and then you put the beard on. But the in those scenes. I wanted a real foil for the beard was kind of like mask work, you know? And if character of Jude. Obviously, it was written that any of you are actors, you know when you put a way; someone with intelligence, and not a simple mask on, the first thing you do is you look in the symbol of the establishment that the counter- mirror, and whatever feeling you get from that mask culture had constructed, you know. is something that you go with. So I did that; and messed around with that a little bit; and then SCHWARTZ: And what did you base the figured out which parts of the beard would interfere performance on, the characterization? with the way my face moves, so avoid doing that; and then find some kind of humanity underneath GREENWOOD: Well, we talked about a couple of that. different BBC interviewers. David Frost… HAYNES: Really, actors work with all of these HAYNES: Oh, yes. elements to ultimately consolidate a character. It’s a cyclical process for a while, and then it finally GREENWOOD: …we sort of pulled out of the ether. I settles. But it was so interesting, because we were had a little bit of his hair going on for a while, and doing this in succession with all of these then kind of gave up on that. But I guess it was an characters—where they would come into the amalgam of a few people we’d both seen over the makeup room, into the makeup trucks, and years, and… Richard, we found the length of his—they all had wigs, and we all found the right length and picked HAYNES: But remember, we decided it wouldn’t be the right spectacles. It’s a long process. You try this like the guys in— People say, “Isn’t it based on on, you try that on, you keep trimming, you look, those journalists in Dont Look Back?” you hold it up higher and lower. And you really derive at it. Of course, we were drawing from tons GREENWOOD: Yes; but no. of Dylan stuff. Heath [Ledger]had a wig—they all had wigs—and they were very carefully modeled HAYNES: It was not going to be that. It was not after Dylan at different times. And we had to pick going to be like an out of touch, fuddy-duddy different facial hair for Heath, to determine different English guy. periods in his life with Claire [Charlotte Gainsbourg] and—yes; hair is essential. (Laughs) GREENWOOD: No, we didn’t want a guy who was repressed and super uptight and… and so—yes.

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SCHWARTZ: Can you talk about Cate Blanchett? Of Yet I walked in, and a hundred yards away you all the different Dylans—probably when we think could see there was this little tiny speck of activity. I Bob Dylan, the first Dylan we think of is right exactly got about a hundred feet away and I could feel that from that period, that sort of definitive period, mid- something was happening. There’s some kind of sixties—and it’s such a master stroke of casting. So electrical thing going on between the crew and— what was your thought process in casting her? Did the crew was literally [gaping] and pointing at the you think of actors, male actors? artist, you know? (Schwartz laughs) You could feel that everybody felt that they were witnessing HAYNES: No, no. The concept from the beginning, something really, really special. It was like that for the original idea was that it would be an actress every moment, watching her, you know? I mean, who would play the role of Jude. I didn’t have a when she’s at the craft service table she’s mellow, specific actress in mind when I wrote it, but I knew it and talking about whatever, and having a coffee. had to be a woman playing that role as a man. And But it’s kind of like… it was about—really, it was really just about Dylan’s physical state in mid-65, ’66. It’s something that I HAYNES: Do you remember how weird it was when feel—because it’s one of those famous moments she’d come back at the end of the day, out of her that, as you say, are so familiar—they lose their costume? sense of shock and risk. GREENWOOD: Like, “Who are you?” What an audience, a Herman’s Hermits audience of 1965, must have felt like—or even just an audience HAYNES: Like, “Who’s the blonde chick at the that followed his folk, his protest period—suddenly camera?” (Laughter) It was just like… Literally, seeing this spidery figure on stage! This… you there was just no connection between them. know, whatever… strange androgyny. Not an androgyny that we would see in Bowie, but an GREENWOOD: It wasn’t even like working with Cate, androgyny that you might more associate with Patti really. Not that I’ve ever worked with her before, but Smith ten years later; something completely un- it was like working with Bob Dylan from thirty-five masculine and un-established for the time. And I years ago. just felt like that strangeness had to be—in general, my pact with myself with this film was to preserve HAYNES: What was so interesting is the things she the genuine weirdness of Dylan. That’s forgotten was doing the day Bruce first saw her was the because—you forget it because he’s so famous projection scenes that you see—it was the and he’s so—he’s such a—you know, whatever. background material that we needed to collect for He’s it. projections in that one scene, in particular, with the projections on the wall. We had this concept—I had SCHWARTZ: Talk about those scenes, playing those this concept—of three white walls with the spider, scenes, with Cate Blanchett, what that was like. you see the spider moving across, and there were They’re so critical in the film, and it’s such an synchronized projectors that would connect the amazing performance. same image, bend the same image around the frame—those three frames. GREENWOOD: Well, I can probably better describe the feeling of working with her by describing when I One idea—and we did shoot it but we didn’t end up first saw her working, which was: we were shooting using it because it took too long—was to have Jude in this great big cavernous kind of steel mill with big in almost a silhouette, with a very wide lens moving, puddles of grease and muck for two- or three- also, walking across all three. So that was the very hundred yards in one direction and a hundred feet first thing I had Cate do. We had a big, long high and two-hundred feet wide. It’s a big seamless stretched out, and basically, what it was characterless chasm. And it’s—you know, even in a is that she was reducing the character to it’s… room this size it’s not easy to create a vibe. You distilling it down to its core kind of physical abstract walk into a place like that, that’s the size of a element. Almost doing a dance of what the stadium with a roof and it’s pitch black, and you character was. Now every actor, I think, works from can’t create a vibe. the body and finds some physicality as a kind of

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root to who the character is. But this was asking the and try to make it seem seamless, from fact to actor to go all the way there, and to basically do fiction. This one does that, as well; it goes into away with everything else, on the very first moment. places that we’ve never seen depictions of Dylan, per se (although, really, almost everything in the SCHWARTZ: Did she get the voice quickly? I mean, film comes… we did have so much documentation. it’s amazing, what she’s doing with her voice. All of Robbie, all of Billy comes from stuff that was specific and concrete). But it just separates them… HAYNES: She did. It was—yes. They all did. They all did really—they were all inundated with the SCHWARTZ: But you kind of play around with the material. Ben Whishaw does something with his— idea that we can capture the moments of because he’s English. The way he incorporates inspiration. Like when he says, “Just like a woman,” Dylan’s syntax and meter of speech—not syntax, and it’s like, “Oh, that’s how that song got created.” but the tenor and the rhythms of his speech—the But you’re sort of playing around with the whole way he’d sort of gather up syllables by the end of notion of what a biopic can do. the sentence, is so understated and so subtle, but it’s in all of his performance. It’s really remarkable. HAYNES: Yes, yes. But I also think that in that one scene, he’s basically— he’s being sarcastic. He’s SCHWARTZ: How did you sort of think about the idea saying, you know, “Thanks for stepping in”—and of using real Dylan and then being more free and she did step in, and she got rid of the culprit—and imaginative? For example, with the music, it was he’s sarcastic and says, “Yes, just like a woman.” very important to have the real Dylan voice. But He’s using a cliché, but he’s actually using it then there’s sort of covers and new versions and against—which he does in the song. People got that whole—it’s a very big question, I’m sure, for very upset about the use of that cliché, even though you. he is really playing with it.

HAYNES: Yes; well, what’s funny is the things that SCHWARTZ: Yes; which you have been known to do, you don’t even really probably notice, that I think also. (Laughter) I just want to give you a chance to work so well. In that Cate’s obviously singing to talk about the editing. I mean, it’s such an amazing Steve Malkmus’s voice (from Pavement) in the piece of editing, and I wonder if—and of course, performances of—I mean, in other words, she’s not you worked with Jay Rabinowitz. I mean, you lost a singing to Dylan. She’s not lip-synching Dylan. great collaborator, Jim Lyons. Now, if she lip-synched to Dylan, the illusion would be gone. It would completely go away; and many, HAYNES: Yes. perhaps, other vocalists, as well. It needed to have a voice that matched her frame. And because it’s SCHWARTZ: Could you just talk about that: if there his voice, and because it’s these covers that both were many different versions, and what the editing come out of the sort of spirit of those originals but process was like? also have adapted them and changed them and fictionalized them within the film, it works even HAYNES: It’s funny; it seems like a film that might better, and I think the illusion is more complete. have been conceived largely in the editing room. The editing was, is, such an essential part of any You kind of keep going back to Dylan, but actually movie (and it was to this one), but it wasn’t it’s completely circuitous, the way we get to the something that changed the structure of the film. If core of Dylan. But I think the difference between anything, I think it relaxed the inter-cutting that was quoting Dylan more directly and indirectly… In a actually in the script. The script had more inter- way, the film does what every biopic [does], which cutting between the stories, and we actually is blend the great moments, the famous moments, simplified it and kept the introductions to each of the moments that we remember—Ray Charles in a the stories longer, so you could get into them more. photograph—with the private moments, the moments that we haven’t ever seen—of Johnny But that said, it was more all of these intricacies, Cash in the bedroom with his wife, or whatever. and how to weave the music—It was rhythmic and Most biopics do this with a continuous narrative, it was sensual and visceral, I think—all of the things

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that the editing really focused on and that we both HAYNES: Yes, yes. What does it mean? But I also worked really hard on. We kind of had to work felt like I wasn’t doing anything specific about round-the-clock because we went over budget in talking about today. I was really focusing on the the schedule. We lost like $2 million dollars past and this particular period, and I think it’s all (Laughs) in fees and penalties because of overtime there. It’s almost like I also wasn’t trying to create a costs that somehow just came out of the editing; tapestry of American sensibility and artistic form, or we were supposed to kind of make up for it. We whatever—and yet that’s what Dylan’s life, in all of kind of had the editing table going twenty-four its components, really does add up to in my mind. hours a day, so it was quite a feat. But that came with the result of adhering to or addressing the specifics. SCHWARTZ: One of the things about Far From Heaven that became clear was that even though SCHWARTZ: I want to ask Bruce, in front of Todd you were setting this film in the fifties, and it Haynes, to talk about what he’s like as a director, seemed on the surface to be about the fifties, it was because there’s so many great… this is a film so clear that it was about the time we’re living in now. It much about performance and so much— seems like that must be a lot of what this film is about for you: finding your place as an artist, and GREENWOOD: Ooh. He’s really a super-positive force the whole question of how do we deal with this on the set. Very, very up, and willing to talk about America now, that we’re living in, where the anything you might drag in, any idea. But mostly, question of what freedom is all about is a big he’s so steeped in the history that we’re there trying question. to recreate—admittedly, through the prism of your vision and through the kaleidoscope of Dylan’s HAYNES: It’s funny, I wasn’t—although actually I ever-changing life. But the vibe on the set was identified maybe most, while writing the script, with always really positive, joyous, and I think that the character Claire (who is the Charlotte comes through in the movie, too. It’s an Gainsbourg character) because I was stuck in my effervescent movie in a lot of ways, and I think that house until Oren came to rescue me— is, in large part, because of Todd’s vibe on the set. (That’s fair, don’t you think? SCHWARTZ: Your screenwriter, yes. HAYNES: It’s—I mean, the thing… HAYNES: Oren Moverman, my co-writer—and make it fun again. I was stuck inside with this amazing job GREENWOOD: It is fair. (Laughter) that I’d been allowed to take on, you know? But the Bush-Cheney wars were exploding on the HAYNES: Thank you, Bruce. television, and I felt like I was studying—like, one hand was reaching out to this distant planet, the GREENWOOD: Take yes for an answer. 1960s; and the other hand was reaching out to what was happening on television in front of me. It SCHWARTZ: And it must have been a very just felt so strange and I felt, we all probably felt pressurized production. You had, like, seventy so… I mean, we’ve been going through an locations to shoot in… unbelievable period over the last seven years and it’s really, I think it’s so profoundly shattering that HAYNES: Forty-nine days, yes. It was really, really it’s almost impossible to know what is happening hard. It was super-tough, yes. while it’s happening. It’s going to take, like the sixties, a lot of time to figure out what’s going GREENWOOD: But it’s kind of like the way, you know, wrong and how to set it back on course. the parents hide from their kids that, you know, the rent isn’t here. You know what I mean? SCHWARTZ: Which, I guess, is why you can look back to poets like Bob Dylan or Allen Ginsberg, or HAYNES: Yes; that’s really, that really is… somebody like Walt Whitman, who makes you question, “What does it mean to be American?” GREENWOOD: You just say, “No, dinner’s on the table and this is all going to be good.” And all the

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actors are going, “Oh, goodie! I’m so hungry!” You SCHWARTZ: And you made this without having… know? (Laughter) And they don’t know that around you didn’t have a distributor at the time, I mean, the corner, the bankers are putting the last bead on so… the abacus, you know? HAYNES: No, we didn’t have a U.S. distributor. We HAYNES: I mean, I think directors—(Laughter) had great, you know—the whole spirit of the film started so great: with Dylan saying yes; these GREENWOOD: Well, anyway; I’m just an actor. I don’t actors signing on so quickly; us getting really know what was happening. (Laughter) robust presales at Cannes in ’05… and then all of a sudden everything came to a crashing halt, when HAYNES: I think all directors have some weird we came back to the States to try to get U.S. mechanism, some unnatural mechanism, to distribution. Then it was a year of knocking on compartmentalize fear and to put it into a separate doors, and going to every single studio, and me container, you know? Because you have to just pitching this to like, every single studio. That was keep forging ahead. Probably a lot of directors also hard. It all started to feel, you know, more doubtful. have to be really good actors and keep that cheery disposition. (Laughter) And just try to make people SCHWARTZ: Well, unfortunately, we have to end. I feel like not only do you know exactly what you’re want to just thank you both and congratulations, doing at all times, but also make them feel secure again, on a masterful piece of work. (Applause) in what they’re doing. That does take a kind of sort of forced will, which makes it even more exhausting HAYNES: Thank you so much. Thank you. and hard. You have to sort of be a machine, in a way, to pull through that.

The Pinewood Dialogues, an ongoing series of discussions with key creative figures in film, television, and digital media, are made possible with a generous grant from the Pannonia Foundation.

Museum of the Moving Image is grateful for the generous support of numerous corporations, foundations, and individuals. The Museum receives vital funding from the City of New York through the New York City Department of Cultural Affairs and the New York City Economic Development Corporation. Additional government support is provided by the New York State Council on the Arts, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation and Historic Preservation). The Museum occupies a building owned by the City of New York, and wishes to acknowledge the leadership and assistance of Mayor Michael R. Bloomberg, Queens Borough President Helen M. Marshall, and City Council Member Eric N. Gioia.

Copyright © 2008, Museum of the Moving Image.

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